Player piano



H. Kl N N EY PLAYER PIANO Jan. 14, 1930.

Filed Feb. 15. 1928 2 Sheets-Sheet l KIZ gwen-l o1. HENRY ffm/N: Y

attente@ d H. KINNEY PLAYER PIANO Jan. 14, 1930.

Filed Feb. 13, 192B 2 Sheets-Sheet 2 Isl'. row G g rwmtoc 50 fourths arein fairly Patented Jan. 14, 1930 PATENT OFFICE HENRY KINNEY, 0FSACRAMENTO, CALIFORNIA PLAYER PIANO Application filed February 13, 1928.

My invention relates to improvements in player pianos, and it consistsin the combinations, constructions, and arrangements hereinafterdescribed and claimed.

5 The object of this invention is to enable vmusical instruments such asthe piano, pipe organ, reed organ, etc., to be tuned and played invabsolutely perfect intonation instead of in the tempered system ingeneral use at the 0 present time. The objection to the tempered systemis that none of the intervals except the octaves are in perfect tune,therefore when several tones are used together, as they must be used inharmony, to produce a chord,

5 the result is a production of extremely disagreeable beats, waves orpulsations, the rapidity of which will depend upon the intervals usedand also upon their pitch.

If we start with the lowest A on an ordi- 0 nary piano which has 279gvibrations per second and tune a series of seven perfect octaves upward,we land on A 3480. vibrations per second, which is correct 'for thehighest A on the piano. If we start with the 5 same A and tune a seriesof twelve perfect fifths upward we land on a A 3527, 31363/ 65536vibrations per second 'which is a Pythagorean coma sharper than the Aobtained by tuning oct-aves. This is the reason why the fifths on anordinary piano cannot be in perfect tune. Similar causes prevent tuningthe other intervals perfect, but the ratios involved are different andthe errors greater than with fifths. The eXtreme range in the beat rateof some of the intervals on an ordinary piano is as follows: for fifths,from one wave in eleven seconds in the extreme bass to 9.36 beats persecond in the eXtreme treble. For fourths, from one wave in nine secondsto 14.00 beats per second.4 Formaj-or thirds, from 1.05 to 130.36 beatsper second. For minor thirds, from 1.49 to 187.80 beats per second.

t will be seen from the preceding vparagraph that some means should beprovided for timing a musical instrument in perfect intonation., inorder that the notes of various chords will harmonize correctly. Manyauthorities argue that as the fifths Vand good tune th-e equally SerialNo. 254,138.

tempered system leaves little more to be desired, but it should not beforgotten that every `chord must contain a third as well as a fifth,therefore every chord is bound to containtain not only the moderatelyslow beats of the fifth, but the more rapid and disagreeable beats ofthe third also.

t is obvious that if two strings are set into vibration at the sametime, these strings sending' od' sound waves that are not in an exactmusical ratio to cach other, or out of tune as the term is, beats willbe produced. These beats are caused by the sound waves of the twostrings acting first together, and then against each other, causing aperiodic increase and decrease in the volume of sound. When the ratiobetween the sound waves produced by the two strings is an exact one,neither string will gain or lose ground as compared with the other,there will be no periodic change, and the combined tone of the twostrings will remain constant. To determine the number of beats persecond that will be produced by any two tones sounding together whentheir vibrations per second are known, multiply the vibrations persecond of the lower tone by the larger number, and Ythe vibrations persecond of the higher tone by the smaller number of their proper intervalratio; subtractthe greater and the remainder will be the number of beatsper second.

For example, middle C has 258.65 vibrations per second in equaltemperament. G a fifth above C has 387.5% vibrations per second. Thefifth ratio is 3 to 2 therefore (258.65X3)-(387.54 2) :.87 beats persecond. And again E a major third above Chas 325.88 vibrations persecond. rIhe major third ratio is 5 to 4 therefore (325.88X4Q* (258.65X5) :10.27 beats per second.

When the beat rate exceeds about thirty per second, the ear cannotdistinguish the separate beats, the effect being the same as anothertone having as many vibrations per second as there are beats per second.In many cases this third tone can be distinctly heard when as a matterof fact no such tone really does or should exist.

At this time it is well to refer to the drawthe lesser product fromings, which show charts indicating different data and also a mechanismfor permitting a musical instrument to be played that is tuned inperfect intonation.

Figure 1 is a schematic view of an apparatus for employing my invention;

Figure 2 is a sectional view diagrammatically shown of a portion of aplayer piano using my invention; and

Figures 3, 4, 5, and 6 are charts giving different data which will behereinafter specitically set forth.

Before the operation of the invention can ye understood it is necessaryto understand the system of perfect intonation with which it is proposedto be used. Figure 3 is a condensed diagram of the ratios existingbetween the twelve tones of any octave when tuned in perfect intonation.For brevity sake only the major mode will be considered at present, butthe tones obtained are absolutely correct for the minor mode also. rlhenumbers in the horizontal row A marked Beg. represent the diatonic andchromatic degrees of the major scale, No. 1 being the keynote and No. 8the octave above the keynote. rhe numbers in the horizontal row B,marked Rat. are the ratios existing between the respective degrees ofthe maj or scale and the keynote 1.

For example, the ratio of the second de- Oree, see reference numeral 1,is 9 to 8, which means that the second degree should make exactly 9vibrations in the length of time required for the first degree orkeynote to make 8. The ratio of the third degree 2 is 5 to 4, thereforethe third degree of the major scale should make exactly 5 vibrations,while the keynote makes exactly four, and so on, for all of the degreesas shown.

rlChe numbers 1 15, 8, 5, etc., at the bottoms of the fractions in the Brow refer to the number of vibrations given off by the keynote 1 insquare 3. rllhe lowest horizontal row C in Figure 3 gives the ratiosexisting between the adjacent diatonic degrees of the scale. t will beobserved that thereis only three different ratios, namely: 9 to 8; 10 to9; and 16 to 1V rlhe 16 refers to the number of vibrations of note 4,see square 4, while 15 designates the number of vibrations of 3, square2. These three ratios are known the world over as major tone, minortone, and semitone. The major tone is divided into two unequalsemitones, see squares 5 and 6 in row D, having the ratios 16 to 15, and135 to 128. rlhe minor tone is divided into two unequal semitones havingthe ratios 16 to 15 and 25 to 24, see squares 7 and 8. The semitone ofcourse is not divided.

Now checking up the ratios existing between the adjacent chromaticdegrees of the scale, it will be found that there is only threedifferent ratios, namely: 16 to 15; 135 to128; and 25 to 24. They areshown in detail in the upper horizontal row D of Figure 3.

tion for the keys Fit, Cil, and must It is now best to show the numberof strings necessary to provide all of the known keys with perfectintonation, and the number of vibrations given off by these strings.

Figure 4 shows the vibrations per second of the tones in the octave fromA to A around middle C calculated according to the ratios given inFigure 3, taking international A at 435 vibrations per second. Thirteendifferent keys are shown modulating by fifths from Ab to Git, inclusive,seevertical row E. It will be observed that each of the twelve tones ofthe octave has four slightly different pitches or rates of vibrationdepending upon the key in which it is used. Therefore, to play in allthe keys shown in Figure 4, it will require four times twelve orforty-eight tones in each octave, which means exactly four ordinaryplayer pianos, or their equivalent.

However, it is somewhatmisleading to look at it from the viewpoint offorty-eight tenes to the octave. The difference in pitch of the sametone when used in different keys is so small, when compared with thedifference in pitch between it and the next higher or lower tone, thatit is best to look at it from the viewpoint of twelve tones to theoctave, each tone varying somewhat in pitch, depending upon the key inwhich it is used.

International A is shown in square 9 in Figure 4. Middle C is showninthe fifth square from the left in horizontal row F. Starting fromsquare 10 and reading upwardly in vertical row E, it will be noted thatthe keynotes of the various sharp scales are given. For example,horizontal row F indicates middle C, row G indicates the key of G, whichhas one sharp, row H ineicates the key of D, which has two sharps, etc.

Reading down from row F we have horizontal row l, indicating the key ofF, or one flat, row J indicating the key of Bb, or two flats, etc.

Each horizontal row has one square, see the square 9, which is providedwith blackenedcorners. These squares give the number of vibrationsnecessary for the string that represents the keynote.

rfake square 9 which shows 435 vibrations for keynote A, which also isinternational A.

This square appears in vertical row l. Running down this row we findthat international A can be used for the keys of E, B, D, and Gr. Thekey A in order to provide perfect intonagive off 440 vibrations persecond, see squares 10, 11, and 12.

Coming down to the keys of C, F, and Bb, we find 429 vibrations to becorrect.' T he keys of El; and Ab, take 434 vibrations for the string A.There is therefore four different strings necessary for the note A, inorder to be in perfect intonation with all of the keys. Reference to theother notes shown by the names of the notes heading each verj tical rowin Figure 4, shows that each note must have four different vibrations inorder to be in perfect intonation with all of the keys. Each note on thepiano must have four strings.

The instrument is tuned in three separate series of absolutely perfectfifths and their octaves as follows. A keynote series, a major thirdseries, and a minor third series. The keynote series gives all thekeynotes in every octave also the degrees 2, 4, 5, til/2 of the majorscales, see row A, Figure 3. The major third series gives the degrees 3,6, 7 of the major scales. The minor third series gives the degrees 11/2,21/2, 41/2, 51/2 of the major scales. These three combinations take upall of the tones. The tones are most conveniently arranged in four rows,as shown in Figure 5, each row containing twelve tones to the octave.Each row indicates a separate piano or a single piano having fourstrings to each note.

The following instructions are for tuning a battery of four pianos inperfect intonation, but are correct for a pipe organ, reed organ, orother instrument by using the words row l, row 2, etc., in place of thewords piano l, piano 2, etc.

The keynote series Inasmuch as A at 435 vibrations per second is byinternational agreement the pitch standard of the world, we commence bytuning A, see square 13, Figure 5, on piano 3, to exactly 435 vibrationsper second, then tune all A tones on piano 3, in absolutely Aperfectoctavos with this A.

Tune all E tones on piano 3 a perfect 5th above and a perfect 4th belowthe A tones of piano 3, and in perfect octaves with each other.

Tune all B tones on piano 3 a perfect 5th above and a perfect 4th belowthe E tones of piano 3 and in perfect octaves with each other.

Tune all Fit tones on piano 4 a perfect fifth above and a perfect fourthbelow the B 'tones of piano 3, and in perfect octaves ith each other.

Then tune tones 5, 6, 7, 8. Tune in like manner Ct, Git, Dit, Aji all onpiano 4.

Tune all D tones on piano 3 a perfect fifth below, and a perfect fourthabove the A tones of piano 3, and in perfect octaves with each other.

Tune all G tones on piano 2 a perfect fifth below, and a perfect fourthabove the D tones of piano 3, and in perfect octaves with each other.

Tones 1l to 17. Tune in like manner C and F on piano 2, also Bb, Eb, Ab,Db, Gbhon piano l. This completes the keynote series.

Tft@ major Hzc'wl series The requirement is that we have a series ofperfect fifths and their octaves, four semitones above the keynoteseries, and of such pitch that they will make exactly five vibrations inthe length of time required for the respective tones of the keynoteseries to make exactly four vibrations. lf we are to tune by ear, thebest way is to make the thirds chord perfectly with the tones of thekeynote series as follows:

Tune all F tones on piano l to chord perfectly in the major chord Db, E,Ab, and in perfect octaves with each other.

Tune all C tones on piano l a perfect fifth above, and a perfect fourthbelow the F tones of piano l to chord perfectly in the major chord Ab,C, Eb, and in perfect octaves with each other.

Tune all G tones on piano l a perfect fifth above, and a perfect fourthbelow the C tones of piano l to chord perfectly in the major chord Eb,G, Bb, and in perfect octaves with each other.

Tune all D tones on piano 2 a perfect fifth above, and a perfect fourthbelow the G tones of piano l to chord perfectly in the major chord Bb,D, F, and in perfect octaves with each other.

Tune the tones 22 to .32. Tune in like manner A, E, B on piano 2 Fit,Ct, Git, Dit, Ait, on piano 3 and F, C, G on piano 4. This completes themajor third series.

The requirement is that we have a series of perfect fifths and theiroctaves, three semitones above the keynote series and of suoli pitchthat they will make exactly six vibrations in the length of timerequired for the respective tones of the keynote series to make exactlyfive vibrations. They are tuned in the same manner as the majorthirdsforming a minor chord with the tones of the keynote series.

Tune all A tones on piano l to chord perfectly in the minor chord Gb, A,Db, and in perfect octaveswith each other.

Tune all D tones on piano l a perfect fifth below and a perfect fourthabove the A tones of piano l, and in perfect octaves with each other.

Tune all E tones on piano l a perfect fifth above, and a perfectfourthbelow the A tones of piano l to chord perfectly in the minor chord Db,E, Ab, and in perfect octaves with each other.

Tune all B tones on piano l a perfect fifth above, and a perfect fourthbelow the E tones of piano l to chord perfectly in the minor chord Ab,B, Eb, and in perfect octaves with each other.

Tune all Gb tones on piano 2 a perfect fifth above, and a perfect fourthbelow the B tones of piano l, to chord perfectly in the minor chord Eb,Gb, Bb, and in perfect octaves with each other.

Tune tones 38 to 48. Tune in like manner Db, Ab, Eb, Bb, on piano 2, F,G, G on piano 3 and D, A, E, B, on piano 4. This completes the minorthird series and completes the tuning of the instrument. All 4:8 tonesin the octave have been tuned.

Each note of the keynote series is used in five different keys. Eachtone of the minor third series is used in four different keys. Each toneof the major third series is used in three different keys.

The net result of the tuning` is that piano one is tuned and is playablealone in the key of Ab or Gt only. lt is playable in other keys incombination with piano two. Piano two is not playablein any key alone,but only in combination with piano one or three. Fiano three is notplayable in any key alone, but only in combination with piano two orfour. Piano four is tuned exactly the same as piano one but to asomewhat sharper pitch. Piano four 's playable alone in the key Git orAb only. It is also playable in other keys in combination with pianothree. Figure 6 shows by heavy lines 111 to 18, inclusive, the groupingof the 48 tones in the four pianos.

Referring to Figure e', piano one is tuned to give the tones shown inthe lowest horizontal row marked L. Piano two is tuned to give the nexthigher tones. Piano three is tuned to give the next higher tones abovepiano two, and piano four is tuned to give the tones shown in thehighest horizontal row marked M. rEhe expressions used do notnecessarily mean the highest or lowest in pitch but refer to theirposition in Figure el.

Now when it is understood that each hori- Zontal row of tones in FigureIl will produce a certain scale or key, and that the four pianoscombined will produce all the tones shown in Figure Il, it becomesobvious that we can play in perfect intonation in at least two ways.First, we can make a separate tracker bar for each key connecting eachone to the proper tones of the pianos to produce that key. rEhen we canplay in any key desired by using the proper tracker bar. Secondly, wecan make one tracker bar only and when it is desired to play in adifferent key disconnect such of the old tones as may be necessary, andconnect the proper new tones to produce the desired scale or key. Theproposed tracker bar operates on a prac tical combination of the twoprinciples.

An inspection of Figure a will show that when modulating upwards byiifths it is nec essary to disconnect three tones in each octave forevery modulation and connect three new tones. Degrees 2 and 21/2 of thenew scale must be a Didymus comma sharper (ratio 81 to 80) and theseventh degree a diaskhisina flatter than the old tones (ratio 2025 to2048 equal to 81 to 81.92).

A Didymus comma (ratio 81 to 80) is the difference between two perfectoctaves (ratio 2 to 1) plus one perfect major third (ratio 5 to l) 'andfour perfect fifths (ratio 8 to 2). In other words two octaves plus onemajor third plus one Didymus comma is exactly equal to four fifths. Itis the amount that degrees 2 and 21/2 of the major scales must besharpened to maintain perfect intonation when modulating upward byfifths. lt is a trifle more than one-fifth of an equally temperedsemitone or to be more exact, .2151.

A skhisma (ratio 32805 to 32768) is the difference between eight fifths,and five octaves plus one major third. lt is also the dierence betweeneight-fifths plus one major third, and tive octaves. ln other wordseight-fifths plus one skhisma is exactly equal to tive octaves plus onemajor third. And tive octaves plus one skhisma is exactly equal toeight-fifths plus one maj or third. lt is about one-iftieth of anequally tempered semitone or to be more exact, .0195.

A diaskhisrna is ten skhisrnas. (Ratio 2025 to 2041-8 equal to 81 to81.92.) It is the difference between four-fifths plus two major thirds,and three octaves. ln other words, four-fifths plus two major thirds,plus one diaskhisma is exactly equal to three octaves. lt is the amountby which the seventh degree oi" the major scales must be flattened tomaintain perfect intonation when modulating upward by fifths. lt is atrifle less than one-fifth of an equally tempered semitone, or to bemore exact, .1955.

A Pythagorean comma is equal to one Didymus con ina plus one skhisma.(Ratio 531441 to 524288.) It is the difference between seven octaves andtwelve-fifths. ln other words, seven octaves plus one Pythagorean commais exactly equal to twelvefifths. lt is less than one-fourth of anequally tempered semitone, or to be more exact, .2846.

The tracker bar under consideration is arranged and connected up in sucha way that these operations can be readily performed, see Figures 1 and2. lt consists essentially of a face plate 19 having thirteen rows ofholes 20, there being one Yrow of holes for each key in which it isdesired to play. Some four rows of tracker tubes 21 to 2li, inclusive,are connected to this face plate in such a way that each row of holes inthe face plate will be connected to the proper tones of the pianos, orsingle piano having four strings to each note, to produce its intendedkey. Each tone of the keynote series is connected to live openings inthe face plate, each tone of the minor third series to four and eachtone of the major third series to three openings in the face plate. Ofcourse, at the top or bottom of the face plate any tone may be connectedto not more than one opening, but if the face plate were extendedfarther. each tone would have the number stated. The exact number ineach individual case can be seen in Figure 1 and also in Figure el.

A tuning roll 25 made of special tough paper or other suitable materialis placed over the entire suiface of the face plate or tracker bar 19.This tuning roll is similar to a music roll, only much shorter. Tt hasone row of holes 26', similarin size and shape to a row of holes in theface plate, and it is adapted to be moved so as to bring the row ofholes in the tuning roll into alignment with any desired row of heles,in the face plate, at the same time keeping all the other rows closedair tight. Then a standard music roll 27 is used with the exposed row ofholes exactly the saine as if using an ordinary tracker bar; and themusic produced will be in perfect intonation and free from thedisagreeable beats of the equally tempered system.

Tt is obvious that as several adjacent holes in the face plate dischargeinto the saine tracker tube, they could be connected together formingone larger opening in the form of a slot. This would probably make iteasier and cheaper to construct and at the same time be just aseiiicient. The face plate would then have much the same appearance asthe right hand portion X of Figure l.

Figure 2 shows a cross sectional diagra1nmatic view taken throughinternational A. The figure is correct for any A, but of course thevibrations per second will be different in each octave. The two spoolsor rollers 28 and 29 shown carrying the tuning roll are rotatable, inorder to accurately align the openings 26 in the tuning roll 25 with theopenings 2O in the tracker bar 19. The lower spool 29 is equipped with aspring 30 similar to those used in window shade rollers, and maintains aconstant pull or tension on the tuning roll 25 at all times. A shaft 3l,carrying the spool 29 is rotated by the upper spool 28. The upper timingroller 28 has a small hand wheel 32 rigidly attached to its right handend, and its left hand end is iitted with an ordinary pawl 83 andratchet 34. This ratchet and the diameter of the tuning roller iscarefully designed so that one notch on the ratchet will exactly equalthe movement of the openings in the tuning roll from one to the nextadjacent rou7 of openings in the tracker bar. `When it is desired tomodulate into a higher key, the player merely turns the roller forwardthe required amount. lVhen it is desired to modulate to a lower key, thepawl is released with the left hand, the roller is allowed to rotatebackward the required amount, and the pawl is allowed to reengage theratchet.

The chromatic scale will require twelve tones to the octave to play inone key, and for each additional key three new tones in each octave whenmodulating by fifths. The diatonic scale, such as is used on the Germanstyle accordions, harmonicas, etc., will require seven tones to theoctave to play in one key, and for each additional key two tones in eachoctave when modulating by iifths.

The reason for starting with Al; and modulating to Gil, as shown inFigure a, is to bring the natural keys that are used the most into thecenter of the combination and create a well balanced appearance. lt doesnot make any real difference on which key we start exceptthat theinstrument will have to be tuned to correspond.

T claim:

l. A player piano having a plurality of strings for each note, a trackertube for each string, means for closing all but the desired trackertubes, and a perforated strip cooperating with said means for last namedtubes.

2. player piano having four strings for each note, a tracker tube foreach string, means for uncovering a different combination of trackertubes for each key played, and a perforated strip cooperating with saidmeans for closing and opening said group of tubes in a predeterminedmanner.

3. A musical instrument having four sound producing elements of slightlyvarying vibration periods for each note so as to allow the player toselect the elements that will harmonize best with another note. A

4l. A musical instrument having four strings for each note, the stringsbeing tuned in a predetermined manner for providing a major third seriesand a minor third se` ries, each series consisting of perfect fifths.

HENRY KINNEY.

